Critics have always asserted that only language mattered for Fernando Pessoa and that he ignored or mistrusted both photography and cinema. However, a reading of the Book of Disquiet shows that photography was of great importance to him-so much that he advocated a form of “photographic writing”. His keen interest in cinema is also suggested by newly available documents from his massive archive. They include fragments of film scripts and notes on setting up a movie studio. A reassessment of Pessoa’s relationship to visual culture can help us to more fully appreciate his poetics.